Carrie the Musical

There are certain films which remain firmly in the memory, Carrie is certainly one of them. I clearly remember seeing the 1976 film many years ago with Sissy Spacek's portrayal of Carrie White.

Despite the lasting memory, I must watch it again sometime, this was my first opportunity to experience Carrie: The Musical.  I was intrigued to discover how could such a psychologically complex story possibly be performed on stage. Having said that I equally knew under the direction of Ben Connor and his creative team I was not going to be disappointed.

Based on Stephen King's novel, first published in 1974, Carrie: The Musical first appeared on Broadway in 1988. After extensive revision came the show performed with unquestionable excellence. What I saw was a one-off performance in more ways than one.

This show came hot on the heels of Dear Evan Hansan.  The show had links with the previous production in they both touched on bullying asking ‘What does it cost to be Kind’. However, with Carrie further elements are also present such as religious extremism, cruelty and consequence.

The show had just one, packed performance. Most certainly a high level of commitment was placed into the compacted rehearsal schedule of just one week to bring about this one off. An achievement which cannot be understated.

The staging demonstrated just how effective simplicity can be. The set on entering the auditorium, to some very eery music, consisted of what appeared to be a hospital with a single crucifix on the wall stage left. Simple exists off and an evident raised area up stage behind the main set. This transpired to numerous locations not least a psychiatric ward, school gymnasium, changing rooms, the White household and ultimately the prom. Furniture consisted of benches, two wooden cubes and a wooden rectangular rostrum. These few items, together with imaginative lighting and effective scene changes flowed effortlessly without the loss of pace and tension. At times two settings were played out at the same time and yet it was clear both what was happening and where the locations were.

The use of a different level added further visual interest throughout the performance. The raised staging became particularly effective during the closing scenes taking me back to that film. There was, from me at least. great anticipation as to how this would be portrayed. Right from the start, and the almost preshow etching of ‘CARRIE’ in chalk on the black stage, the whole show was sinister and at times disturbing.

The choreography was outstanding throughout. Every member of the cast performed with precision, energy and enthusiasm whether during the lighter or real dark moments of the production.

As for the casting, sadly I cannot mention everyone involved. However certain actors must be recognised.

Sienna-Lily O'Brien rose admirably to the challenge of taking on the lead role. She captured Carrie's innocence and vulnerability from the outset in her characterisation, manner and appearance as well as changes when with her mother, when at the prom and when finally provoked. Added to this was her singing voice which fully captured where she was on the journey. Sienna–Lily most certainly deserved the final bow to a very appreciative audience

As Margaret White, Natalie Smith delivered a commanding performance. Margaret's religious obsessive portrayal of character was especially strong and dominating.  

Erin Gibbons brought warmth and sincerity to Sue Snell. The show stated with her interrogation having only said 100 words to Carrie before the events in the shower. As one of the few characters to recognise the consequences of the relentless bullying, Erin's performance provided an important emotional thread throughout the story. She too had a remarkable presence and singing ability.

Frazier James Newell portrayed Tommy Ross with real warmth and kindness. His growing relationship with Carrie felt natural and believable, making the events of the prom poignant. The delivery of the poem and his song were indeed Beautiful as described by Carrie.

Every story needs a convincing antagonist and Lara Debenham certainly provided one as Chris Hargensen. Her portrayal successfully conveyed the cruelty and manipulation from the shower scene and the refusal to say sorry created a character the audience could readily dislike right to the comeuppance at the end.

Dylan O'Connor brought confidence, absolute energy and a strong stage presence, including the fall from the skateboard.  to the role of Billy Nolan who was Chris's accomplice. Dylan’s portrayal was convincing, albeit disturbing creating a believable partnership with Chris leading to the devastating climax.

Amelie Taylor gave a sympathetic portrayal of Miss Gardner, providing a reassuring and compassionate adult presence within the school community with a desire to protect the vulnerable Carrie.

The supporting cast, including Molly Switonski (Norma), Archie Pitt (George), Katie Watkins (Freida), Stan Dudzinski Grubb (Stokes), Tia Agyeman (Helen), Kyran Candlin (Freddy) and Nathaniel Hodgkiss (Mr Stevens), all made valuable contributions in creating a believable school environment and supported the principals throughout. The classroom scene with Tommy’s poem was very memorable.

The ensemble deserves enormous praise. Their commitment never faltered, and they maintained both focus and energy from beginning with ‘In’ to the end of the show The school scenes felt authentic, while the choreography devised by Euan Mellings added real strength to the production as well as their role in ensuring swift scene changes. It was evident that this production was true team work to ensure a remarkable and memorable performance.

Recognition should also be given to the band consisting of keys, drums and guitars under the leadership of Michael Jenkins. Throughout the performance they provided a well-balanced accompaniment. This allowed both the music and lyrics to be enjoyed fully.

My congratulations go to the director, musical director, choreographer, production team, technical crew, band and every member of the cast for bringing this challenging musical to the Walker Theatre stage with such confidence, imagination and commitment.

Curtain Call should be immensely proud of what has been achieved, particularly within such a short rehearsal period. I look forward to seeing you all again for Rent – another powerful musical later in the year.

Andy Brown, Regional Councillor NODA West Midlands.

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